Everything Is Content - Everything In Conversation: What It's Really Like To Be A Child Star with Alyson Stoner

Episode Date: August 27, 2025

A dream guest has joined the EIC studios... this week we're joined by actor, singer and dancer Alyson Stoner. Any child of the 90s and 00s will have grown up with Alyson on their screens. They were in Step Up, Cheaper By The Dozen, The Suite Life of Zack and Cody and Camp Rock and have since become a sharp analyst on the fame and the entertainment industry online. They've just released a memoir of their upbringing as a child star and (for the first time) shared details of acting from aged three, developing and seeking help for an eating disorder and having their finances mismanaged by their team.It's an incredible conversation and we feel so honoured to have had it. If you enjoyed this episode please consider giving us a rating on your podcast player app AND voting for us in the British Podcast Awards. Thank you <3 xxxBritish Podcast AwardsSemi-Well-Adjusted Despite Literally Everything Hosted on Acast. See acast.com/privacy for more information.

I'm Richira and I'm Anoni and this is Everything in Conversation. This is your extra peppering of content to get you through the week. You'll have already noticed that Beth isn't here this week. We know she is truly gutted. She can't make this one as we have an extraordinarily special guest this week. We're joined by actor, singer and dancer Alison Stoner. Any child of the 90s and noughties will have grown up with Alison on their screens. They were in Step Up, cheaper by the dozen, the sweet life of Zach and Cody and Camp Rock, to name a few.

Alison was born in Toledo, Ohio, and first started acting age three and became a child star age seven. They've just released their memoir, semi-well adjusted, despite literally everything, a reflection on their upbringing as a Disney and Nickelodeon child actor, and their struggles with becoming the family breadwinner so young, constant rejections from the industry, and their struggles with an eating disorder. so in this episode we're going to dive into the world of child stars with them just how ethical is it and how much is the industry to blame for young actors struggles remember to give us a follow at everything is content port on instagram and ticot okay we have spoken more than enough here's the episode

with allison how are you doing today i am holding up it's much earlier here in the day, of course. It's been a whirlwind because it was the book tour and then now we're straight into more press interviews. But really beautiful, I'm starting to see reviews come in for the book. So that's, that's really lovely. Closing the loop of it. How are you holding up? Good. I mean, we don't have a book out at the minute. So probably more favorably, but I'm good. Thank you. What about you and only? I'm good. We've been having like this massive heat wave and I probably much to the chagrin of everyone else in this country I'm loving the fact that it's actually been really cloudy today because this country's not built for heat so when it's

hot it's quite unbearable so it's been really gray and cloudy and I've secretly been quite happy about it it's not a secret anymore no I know broadcasting it to the world so we start every episode talking about the piece of content that we have been loving from the week so that can encompass everything from a film, a TV show, a YouTube video, a TikTok, anything. So is there anything that you've been loving that you would like to bring to the table? Ooh, yes. I have been watching The Century of the Self. Have you heard of it? It's a four-part documentary. It was originally on VBC by Adam Curtis. Okay, so I know Adam Curtis, but I don't know this one. Please tell us everything. Okay, I've been watching this on YouTube, so I don't know if I'm

breaking the rules here. Sorry, Adam, support artists. But it explores how Sigmund Freud and his views around psychoanalysis and human nature ended up then sort of being co-opted by his nephew, Edward Bernays, who took these ideas and imbued them into marketing and used them to turn all of us into individual consumers, but then it didn't stop there. It also shows how this individualistic mindset started to shift our political sphere and even sort of like religious practices became less communal and became more about like self-realization and self-fulfillment. And you see personal development taking off. And so I had no idea how deep Freud's influence was on, on even my field, that's a mental health practitioner now.

In the obvious ways, yes, but in these more subversive ways, less so. So if anyone wants to get a little deep, definitely check out Century of the Self. Ooh, it gives me chills. So good. That is so up our alley. And it's something we're always talking about, like this ever-increasing neoliberalist, individualist society. I can't believe that we haven't got onto that.

So that was an amazing recommendation. Thank you so much. I mean, don't stop there. I have a bagillion more documentary recommendations whenever you're ready. More, more, more, always more. Please. Well, so Adam Curtis does have another one called hyper-normalization, which I think came out several years ago, but might be worth re-watching. And I'm not like, I'm not giving a blanket endorsement. I don't know him personally or all of his views, but I have found that he connects dots that are really useful in this time.

But yeah, then I ended up watching this documentary called Teenage, which I had no idea that the concept of teenagehood was relatively new and that it corresponds to different social movements and responses to labor and da-da-da-da-da. It's everything is coming together in such a new way and it actually ties into a lot of the ideas I've been deconstructing for years related to the entertainment industry and like why we've used. children in entertainment differently than other kinds of child laborers. Okay, but I'll stop there. You'll have to just take that tease and do with it what you will. No, that is amazing. Can I just quickly, before we get to serious stuff, ask, does that mean that you are a documentary head?

Do you watch tons of them? Absolutely. In fact, I don't have any streaming subscriptions. I don't have a TV, but I will create an account to watch a documentary. And I also don't really know much going on in pop culture. So the weight of my heart is through documentaries. And maybe after I get through this book campaign, I might explore what it means to become a documentarian myself. I sort of dipped my toes into this realm with my podcast, Your Hollywood. It is more, you know, kind of like a journalistic expose.

So maybe that's in my future. We'll see. That is so exciting. I also, I don't have a TV, but it's more because I can't afford one of the really fancy ones that looks like a piece of art. You know, that that's the only TV that I would be happy to have in my home. I think that's really ugly. Is that why you don't have a TV or is it for another reason? Same, same, same div, same outcome, different intentions. I actually never purchased a TV after I moved out of my family home. And at the time, I just didn't want to spend. the money. But nowadays, my phone already takes up so much of my attention. I can't imagine having more screens. Like my screen time right now is astronomical. It's in the double digits. And actually, maybe if I sat and watched one longer episode instead of a bazillion short pieces of content, maybe there'd be more, I don't know, of a payoff. So maybe I'm changing my mind in real time. You heard it here first.

Okay, well, let's go on to what I was trying to think of a really clever segue from like screens to books, but I couldn't quite think of it. So we'll just go with it this way. We both wanted to say just congratulations on the book. It is incredible. It's such compulsive reading. It's so well written. And we're pretty much the same age as you and both grew up so in awe of you and watching pretty much everything you did. And I think that meant that reading it made it hit so much harder because suddenly being inside of your world as someone.

had been outside of it for so long, it just had such a great impact. And we know that you've been sharing your thoughts and experiences on acting on your YouTube and on your TikTok, but how was the experience of being able to put into your own words everything that you went to, this lifetime of experiences, against the backdrop, I guess, of growing up in a world where you're constantly trying to appease others and say the right thing. Thank you so much for reading and listening to the book. It has been one of the bigger challenges for me professionally because I spent so many years defending and protecting people's public image at the expense of my lived experience.

And by no means is this like a name, shame, blame memoir. That's not my version of tell all. My version just wanted to make sure that people had access to a more well-well. rounded perspective and a very immersive experience where you're going alongside me as the event happens. So I'm not just speaking, you know, retrospectively and saying, in hindsight, this was the lesson and takeaway. You're getting the messy thoughts from the six-year-old, the eight-year-old, the 10, 12, 14, 16, 18-year-old version of me as I'm making sense of the world. And, you know, I did have to make some pretty consequential decisions around who I chose to name, but I wanted to focus

on experiences that had deep impacts on my development. And the reality is these were the ones that stuck in my bones for decades after. And in some ways, I didn't realize that this process would give me a chance to feel liberated from the story. It's such an odd experience because the world is just getting a chance to read it all for the first time, I'm in a way wanting to say, okay, now I'm ready to set that down and move on to tell a new story. But I do think this at least gives people a chance to catch up. And now from here, we can be step and step with, you know, the narrative that unfolds. Gosh, yeah. It must be a unique experience, just people remembering you, almost like icing you at a particular age because of the huge amount of

pop culture that still is so present today of you from being a child. For people who haven't yet read the book, could you tell us about your experience of entering the film and TV world so young? And looking back at it with adult eyes, what are some of the memories that still stick with you today that you chose to include in the book? Yes, I started performing at age three, and around six or seven, I attended a convention, which I did not know at the time was an entertainment recruitment funnel. I viewed it similarly to our other competitive dance conventions in the local area. After I competed, several agents recommended that we fly out to Los Angeles and go on auditions. And I think we were quite enchanted with the opportunity.

we were also, it was positioned as if this were some kind of divine providence and that it was so abnormal to receive this kind of quote unquote beaconers luck and attention that it quote unquote must mean there's something here. And in reality, now I understand that hundreds of thousands of children are going through these recruitment funnels just like we see with young athletes, young academics, really any. young person whose family is trying to support their interest. There exists these channels for young people to become high performing at whatever that skill or trade is. And now I understand that culturally, we're understandably enamored by this. It gives us a chance to see a young person as a promising symbol of optimism. The innocence is so pure to witness. It seems like an early track to lifelong success. And actually, what usually happens is a lot of young people end up burning out in some way, shape, or form.

They have a lot of their other key developmental areas disrupted because all of their time and energy was allocated to this one cause or one area. And then society often discards them to focus on. the next child star or prodigy. So I had no concept of that at the time. I was just trying to respond to these very unique and special opportunities to perform. And by no means was this an entirely negative experience. There were truly, I mean, life-defining moments to be among ultra-talented, hard-working artists and to experience what it meant to be a young professional at a high level. And now, I simply have to hold multiple truths at once. That did come at the expense of my childhood. I will never know what it's like to just go to

school or go on my first date or, you know, all of these different formative experiences without having a camera involved. So in many ways, my experience now, it leads me to wonder what young people in the digital media area are experiencing because their lives are so visible and they're losing a sense of privacy and safety, and they're addicted to their phones in ways that entertainers had to be addicted to monitoring the public image. So, you know, a lot of those kind of more urgent and timely conversations are surfaced in the book as well.

Yeah, it's so interesting. I wanted to ask on your perspective because you don't have to go out for auditions or take your child to become the next door, kind of from within the comfort of your own home, you can start broadcasting your family life and turn your children into work as full of your YouTube channel or whatever it might be. And just to go quickly back to what you were saying about the way that these children are treated

in these working environments, I think what's so interesting about the book, so fascinating and also devastating. And I guess something I'd never really considered was you talk a lot about the trauma of as a child actor having to be put in really difficult positions as a character that's going through something really awful or traumatizing or devastating. And then you're just kind of thrust back out into your day. and like, bye, well done today on the shoot or whatever. And I think it's such a well-trodden, easy phrase for everyone to accept weirdly,

kind of like we accept it too easily, that child stars might end up having quite difficult adult lives. You mentioned, you know, at times you're a child that's in a hospital scene that's like quite bloody and terrifying. And then there's other instances when you're dealing with like deaths. And within the context of being a child going through those things, you rightly kind of believe they're real because that's how you're trained to act. Do you think there's ever a way to safeguard child actors so that they aren't put in these positions? Because honestly, it was just all quite horrifying. I just wanted to like get into the

book and like drag you out of those situations. These are the reflections I was hoping to provoke because I do think once people hear about the full story, the perspective shifts and it's really uncomfortable to contend with, especially when we feel powerless as an audience at home, wondering, was that child safe? Was that set age appropriate? So there are some practical things that we can do inside the industry. I now work as a mental health coordinator on sets, and we can provide technical support as in, you know, assisting a young person to get into and out of character so that psychologically they're not experiencing as much of the blurred lines between identities. There are also set protocols that can be adjusted when minors are present so that it's more

developmentally appropriate. However, I do think you're touching on something that we as a society might need to chew on a bit longer. And I think it's going to take all of us, including those watching at home, to think through what a solution might look like for the short term and long term in order to be able to create healthier experiences for the children on set producing the media and the children at home consuming the media. And by no means am I suggesting that young people outside of the industry are not also having adverse childhood experiences. So we're just simply focusing on what's going on in my particular domain of expertise and lived experience. And And if something works in the industry that could be applied to school settings or other

spaces with young people, let's absolutely democratize it. This is, you know, it's an opportunity for all of us to think about how we view childhood societally and things like children's rights. You know, it's bizarre that a child cannot provide fully informed consent on anything and yet we're having a corporation own their name, image, and likeness and be able to dictate their, you know, what they say, what they wear, how they look for, let's say they book a series regular role. Maybe it's 10 years. So just think about a commodified human being in this domain, knowing historically we've seen other versions of commodifying humans. And it's, Not something I necessarily think we could ever be proud of. But when it's a child, I do think it helps highlight how bizarre of a situation we've set up and how urgent it is for us to rethink what we're doing.

This is a really big question, but it feels like we've never had somebody more right to answer it because of your wealth of experience, do you think that there is a way to have children in the film and TV industry that is not exploitative? Where do you land because of all the kind of challenging, problematic, damaging, stressful, challenging experiences that you've been through looking back on that now as an adult? It is a very complicated question and there's no quick or simple answer, but a few things that I'll highlight. We would need to, provide a front-loading of information and resources for every child and family, guardian, etc., going into the industry, we would need to train the adults who work with minors to understand

that they are not just mini-adults, that they are fundamentally at a different developmental stage and have different needs. We would need to provide legislative policy that protects not only their financial earnings better, but also establishes something like the right to revoke consent upon turning 18 and seeing very embarrassing material shared of them maybe against their will as a child on social media or in film, etc. And so there would need to be a lot of changes. I also think I've seen a few projects approach this more tenderly in that they protect the child's identity by not sharing the name in the credits. And of course, it's a double-edged sword because you do want to give credit to the performer. But you also might be protecting them from

having unknown people in their lives reaching out and seeking out their location. I've also seen some practices where culturally, I think it's in Japan or it's somewhere, people know not to approach minors, including those who are in the public eye. And in the U.S., at least, you know, that is absolutely not the case. The young person has to learn that at any given moment, they might be a customer service representative for a total stranger. So if all of these things can change, which I believe they can, then there may be some version that is healthier and more sustainable. But even then, I would say as a minor, the experience of fame is correlated to such

poor health outcomes, shortening the lifespan, increasing the change. of dying by suicide, also being shown to be addictive similarly to drugs. I would say if we could, what my friend calls shading the limelight, if we could put a shade and buffer some of that visibility and maybe allow success to happen in a more moderately sized container until they're an adult, perhaps it could be. navigated you know I'm absolutely not here to tell families what to do but I am here to do my best to protect young people so they have the healthiest possible developmental experiences and at the moment a lot of work needs to be done plain and simple the idea that there's a

cultural acceptance that you won't approach young child is amazing I cannot imagine that and in fact One of the bits in the book that really made me feel so sad was when you recognize and you and your mom have this conversation, which is when you're out in public, you have to always be smiling because you don't know who might see you and you've always got to put on a happy front. And the idea of a child's having to battle with that is really upsetting because that can't be any good from the little bits that I know about parenting through like having lots of nieces. The idea that you're disrupting a child's ability to like emotionally regulate themselves or feel like they can relax in any space is devastating. And something that just kept striking when I was reading the book was I would kind of forget how old you are because a lot of it is happening at such young age. So I would think, oh, they must be a bit older now and then you'd refer back to yourself and go, and I'm nine. And I think, oh my God, they're still nine. I thought maybe they were older now. And I wondered, have you managed to reclaim any of your childhood in adulthood? Like you said earlier, you know, I've missed all these milestones and I missed these chunks of my life. Are there ways that you're able to play or experience childlike freedom through hobbies or just things that you've managed to adapt

to do as an adult? I want to first comment on the fact that as I'm going through this book tour, I'm starting to relive the experiences I first had at nine, but with an adult awareness. And I have had such a mixture of feelings, a lot of grief imagining that I was nine when I went through this. And then the other comment I wanted to add was my writing supervisor, Anna, was actually the reason that throughout the book, you are reminded of my age because she said, you were so parentified that it will be easy to lose track of the fact that you still just learned how to

spell your name while all of this was going on. So shout out to having a writing supervisor. We need lots of support to birth a book I have learned. And then in terms of sort of reclaiming childhood or having my own, you know, version of a second childhood as an adult. I, at this point, haven't taken a break yet. I have still been working since six years old, straight through. My hope in some ways was that this book was sort of a chance for me to lay this experience to rest and then give my body a chance to take a break. So I've made some progress. And at least listing out what I'm hoping to do with that future break. And one thing is that I have longed to learn American Sign Language, ASL. So I'm hoping to learn how to sign. I did squeeze in

a Spanish 101 class at the local community college. It was like, you know, once a week for six weeks and that was all my schedule allowed um so i've got some room to to learn how to be a child still if you have any uh recommendations let me know i don't know if i have recommendations but painting painting always helps me if that's any consolation and i know anone is a big painter as well one thing that i also really really wanted to hear your thoughts on was so one of the big themes of the book is how you became the breadwinner of your family at such a young age. And many people probably imagine that at this point, with so many huge projects behind your belt, there would be, you know, a fortune in your name. And that wasn't what happened. In fact, you realized you had

nothing from all your years of working so, so hard as a child. What happened with that? Well, I do document it in great detail in the, it's kind of like, I guess, the second third of the book, or towards the end of the second third of the book, if my memory serves me. And I was, of course, shocked. But in this roundabout way, you know, this is me speaking from this year's perspective. So you'll have to go in and relive it first to connect the dot to what I'm going to say. But in some ways, because I had been unknowingly being taken advantage of, the outcome never made sense. It just did not make sense that I was working so hard, but still was so afraid to ever spend a dime,

even on a pair of new socks. You know, my socks had holes in them. I could fit all of my belongings into a car. And I was so frugal. and it just, I kept wondering as a late teen, like, how do people in any industry outside of entertainment make life possible at all? Like, how is anyone making ends meet? If I'm working 80 hours a week, I don't know how I'm going to be an adult, like, let alone for those who are planning for families. Like, it was just so out of the realm of possibility.

until I started unpacking that there, you know, there was mismanagement happening. So in this odd way, it was actually relieving. It was heartbreaking, but it was relieving because I realized, okay, wait, this means something can change and what happened to me does not have to be the only way that I move forward. And so you'll see threaded throughout the book. You know, I don't want to give too many spoilers for those who haven't read or listened, but I've absolutely been on a quest to step into my conscious agency and along the way to absolutely deconstruct every possible myth and power dynamic and system so that I can think

as critically as possible about how to participate in this world. And, you don't know, I do not wish my very unrelatable childhood on anyone. However, I will say it created an environment where I asked myself these deeper questions very early. And I got to pierce through the illusion that often governs a lot of our life paths because of society. So I'm like, I got to experience, quote unquote, early success, which then allowed me to see, oh, well, this certainly doesn't equate to health, well, being, or fulfillment, or necessarily contribution to society. So, hmm, what else is here?

And, yeah, it's, it's, in many ways, I'm never. pursuing the most ordinary, normal life possible and finding the most beauty there. And I just wish, oh, I just wish, yeah, I wish a lot of things. I'll pause there, but there's a lot in the book. You can hear some of the wistfulness coming through. But, yeah, it's in the book. Just read the book. I have one big question, which, again, no spoilers, because this book does cover a lot of ground. And yes, listeners might not have read it.

But to start right at the beginning, we have this very ambitious young Alison who loves to dance and who is constantly being told that they're special and you have this thing in you that is just incredible. And so your mother is really supportive at the beginning in kind of helping you achieve, you know, these dreams taking to these auditions and things. What do you do if you have a child

that does have eyes on becoming a performer and that they do have that potential to make it in inverted commas because I think that there's always that balance of sort of child who wants to do it has to be met with parent who's willing to get them there because what I found so interesting was it went from kind of like this natural vivaciousness that you had and you were clearly so talented and you were just incredible dance and you have this amazing work ethic but it goes quite quickly from jubilant child to this is job like this is work

quite serious work. That was a bit of a garbled question, but I hope you know what I'm trying to get at. Yes, I do. I hear you, and that's a great question. And I have a couple of guiding thoughts for parents, guardians of young people. So first, the knack for performing, the joy of being creative, that can be so beautiful to nurture. And there are so many ways to encourage young person to express themselves, to explore the stories that they're drawn to, the characters who they adore, and to, you know, put them into local community theater or local studios and perhaps even sometimes dabble with competitive versions, though that's not necessary, I don't think. But I also know some parents, you know, see that their child might be

shy and they see performing as a way to encourage the young person to build confidence and to socialize. So there are so many wonderful motives that can exist. And a guidepost for us can be to remember the holistic development of the young person. So if and when you start to see this particular passion, taking up space that disrupts educational passion, pathways, healthy socialization, time off to rest and just reflect and develop and play without particular pressures for certain outcomes. That's when you might want to recalibrate and, you know, play some guardrails because if they love performing, they can continue to pursue that into adulthood and developmentally, we as the adults in the room have to understand that they're still

getting their first map of the world. So we have to establish what we want their norms to be as they navigate adult workplaces later on. If we condition them to only know themselves as a product, as a machine, as someone who must appease adults at all times, et cetera, et cetera, That's actually not teaching agency, boundaries, you know, bodily autonomy, all of these really critical aspects that will help them be resilient no matter what they pursue later on in life. So I always encourage parents and guardians to look at non-commercial pursuits related to the arts And if and when they dip into the competitive side to create a game plan pre and post competition where you're checking in on their mental and emotional well-being and the stories that the young person is accumulating about themselves and others and the world via those experiences. And the last thing I'll say is a lot of times, you know, young people are drawn to,

someone who appears inspiring or who appears to have it all put together. These are chances for us to ask guiding questions to help the young person see underneath that surface level dream to what's really driving them. Is it because they hope that being famous will help them be worthy? Is it because there's a deeper need for, you know, needing attention because they feel voiceless in their friend group, allow them to, you know, let these deeper needs surface, and then you can explore, okay, is performing the best outlet for us to meet that need? Could we meet that need in other ways? And let's say we do end up moving forward with performing. Let's just be aware

of that deeper driver so that we can just hold it tightly loosely, as my mentor says, and recognize, oh, you know, it's starting to drive us a little too deeply toward this goal. And we need to rebalance or, wow, you know, look how this deeper need actually led to all these other beautiful life experiences. So, you know, it's a bit of a game of psychoanalysis as well as healthy boundaries with your lifestyle. And also for parents and caregivers, I mean, geez, you're balancing so many things anyway, like give yourself a chance to have some white space on the page so that your schedule is not just covered in ink everywhere. We need those margins. You just have so much compassion for everyone involved in this issue, whether it's parents,

whether it's children. And I just wonder, how did you reach that place? What was the lifeline for you to get to the place you are now? To make. make you quote unquote well adjusted, semi well adjusted, the place you are now being able to give that advice back. I appreciate that reflection. I do hope that my own healing journey has cultivated more room for compassion for other people, including those who are hurting themselves and who may hurt others. And by no means does compassion mean the absence of boundaries. So let's just keep that at the forefront. But I will say I think this is where the kind of spiritual, intangible dimension of life comes into play.

The material world, if I just look at what's happening at face value, I find myself really doubtful and full of grief and despair. And so I look to so many of these luminaries historically who, have been able to envision something different and hold on to that intangible until they can realize it in the physical world, in material form. And so I find a lot of hope in these kind of community-based mutual aid networks where I'm seeing people on the ground, you know, showing up for each other and modeling a different way of being. in the world. And then, yeah, when it comes to spirituality, consciousness studies, contemplative practices,

I think anything that this is not me giving advice, this is solely just my personal journey, having something that de-centers the self, having something that allows even the concept of the self to dissolve, where I start to remember how deeply interconnected all of our lives are, it really instantly shifts my orientation to life and to relationship. And so when I see others, I am you, you are me. We are made of the same. We have fundamentally same needs. We're living out very different contextual experiences, but we're all equally deserving of, you know, having our basic human rights honored and, of course, taking care of the planet, XYZ to the fourth power. So I think these kind of deeper contemplative practices

are maybe, you know, that's the guiding light for me. Otherwise, I think it can be quite heavy and burdensome to just look outside and see where we are currently. So yeah, that pulls me toward a future that I believe is possible for us to realize. In fact, there's a quote at the beginning to pull this full circle. I watched yet another Adam Curtis documentary last night, just the start of it. And I think it was something like get out of my head or why are you in my head or something like that. But whatever that initial quote is, you'll have to pull it. It says something like, you know, the ultimate hidden truth is that the world we're looking at right now seems like it's going to be stuck this way forever when in reality this was only ever a bunch of ideas

spewed into you know law and and constructs and we could similarly do the same by shifting it with different ideas and different laws and different constructs so I'm like yeah that whatever that is that's what I want to participate in does that make any sense at all totally yes and I agree with betray even this conversation so generous for you to give us your time but you're so wise and I think also the book is so generous to share your experiences and I do think it will have a really big impact and give so many people so much insight into the industry and the work that you're doing now, I think you're really incredible

and it's been so lovely to speak to you. Thank you. Thanks for having me and I hope you enjoy the rest of your evening over there across the pond. Thank you so much. All the best with the rest of Book Tour. Thank you so much for listening this week. week, you can grab a copy of Alison's memoir, semi-well-adjusted, despite literally everything right now. You can also follow Alison on TikTok or Instagram at Alison Stoner. Remember to rate the

podcast wherever you're listening, and please also give us a follow at Everything is Content Pod on on Instagram and TikTok. We'll see you on Friday. Bye! I don't know.